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1.
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ALMOST BLUE (E.Costello) - Listen
to Sample |
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2.
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PHOTOGRAPH (A.Jobim) - Listen
to Sample |
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3.
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TES YEUX BEMOL duet: Shank and Willis
(H.Renaud) |
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4.
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PARIS BOSSA* (K.Shank) - Listen
to Full Song |
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5.
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THERE'S NEVER BEEN A DAY* (R.Dorough) |
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6.
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THERE'S NEVER BEEN A
DAY* (R.Dorough) |
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7.
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DEVIL MAY CARE** (T.Kirk/R.Dorough)
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8.
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I HAVE THE FEELING I'VE
BEEN HERE BEFORE** (A.Bergman/M.Bergman) |
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9.
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LEFT ALONE (B.Holiday/M.Waldron) |
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* Gary Bartz-Alto sax
** Steve Berrios-Drums
*** Paul Murphy-Drums |
Fi:
from the New Female Vocalists feature by Gene Seymour
Only one album so far, Afterglow [Mapleshade]. But
the Seattle-based Shank is already showing the kind of contemplative,
penetrating emotional power that, given time and a broader range
of material, may win her a devoted following of romantics. Like
Cole and Shirley Horn, Shank is a diligent, imaginative product
of the Less-Is-More School of Balladry. Her version of Bob Dorough's
Devil May Care suggests that she can swing when she chooses
to. She should do more of this kind of stuff when she records again.
(Soon, one hopes.)
A Sonic Sidebar by Fred Kaplan:
The best of the bunch, sonically, is Kendra Shank [Mapleshade
02132]. This is the only record where the singer seems to be right
there in front of you, where you not only hear her voice but sense
her entire body. The players in the band are also in the room,
way back there, their notes and overtones mingling with the air
around them. There's an intimacy, a liveness, that none of the
other discs — that few jazz vocal records in the past couple
of decades — begin to approach. And it was recorded with
no artificial reverb or EQ-ing in the slightest. Let that be the
lesson.
March 1996
Stereophile:
from QuarterNotes by Wes Phillips
Kendra Shank's Afterglow is the real
deal „— an outstanding debut by the finest jazz vocalist
I've heard in years. Shirley Horn co-produces, and
it's easy to see what she likes in Shank; the tunes range
from Elvis Costello's Almost Blue to the ineffable
sadness of Allary's and Renaud's Tes Yeux Bemol „—
all rendered with sensitivity abetted by technique. This subtle
recording complements Shank's strengths: it's understated
and evocative. A real winner.
June 1995
Zazziz:
reviewed by Wayne Saroyan
Co-producer Shirley Horn's touch is evident throughout
Afterglow (Mapleshade), the debut release
by the resonant young singer and guitarist Kendra Shank.
The arrangements are sparse and understated, shimmering
with a luminous aura across all nine of the album's tracks.
On Afterglow, Shank's luxurious voice and
pliant guitar are accompanied by pianist and co-producer
Larry Willis and his quartet, plus a special guest
appearance by alto saxophonist Gary Bartz on the
singer's own composition, Paris Bossa, and the Bob
Donough song There's Never Been a Day. A second Donough
tune, Devil May Care (Shank toured the West Coast
with the singer-pianist back in 1991), carries a light bop
flavor, propelled by Willis' fluid, easy-going piano. The
disc opens with a moody and mournful Elvis Costello ballad,
Almost Blue, influenced by the late trumpeter Chet
Baker's interpretation, and closes with an affectionate
nod to Billie Holiday, whose lyrics to Left Alone caress
a subtle melody written by Lady Day's last accompanist,
pianist Mal Waldron.
April 1995
New York Newsday:
reviewed by Gene Seymour
Shank, a lapsed folkie from Seattle who now pledges
allegiance to Billie Holiday and Shirley Horn, has the
goods to go as far as her talent and imagination can take
her. Blessed with intonation that can both pierce glass
and caress your most vulnerable places, Shank also has
an inner sense of narrative logic and a delicate, intimate
relationship with rhythms, whether they pulse softly with
a bossa lilt or shamble with all the indolence the blues
will allow.
Along with such basic equipment, Shank is pensive, warm
and unafraid to put her feelings out in front of her.
She brings understated passion to all the shades of blue
represented on this debut disc. She takes complete charge
of Almost Blue, the Elvis Costello dirge made famous
as a penultimate valedictory by the late Chet Baker. She
brings deserved prominence to a little-known ballad by
Bob Dorough, There's Never Been a Day, which includes
a tangy, juicy sax obligato by Gary Bartz.
The liner notes quote Shank's introduction to Holiday's
music: "The moment I heard her, I said, 'That's it!'"
Don't be surprised if, someday soon, you have a similar
reaction to Shank.
October 9, 1994
HiFi+:
reviewed by Dennis Davis
Singer-guitarist Kendra Shank has had a lengthy apprenticeship, much of it in France (she considers Paris her second home), and has recently performed at jazz festivals and clubs around the world. Shirley Horne introduced her to Mapleshade and I'm glad she did because this is a lovely set. Mostly because she has a warm, very pure voice with plenty of expression, but also because she's sensitively backed by some fine musicians including Larry Willis (piano) and Gary Bartz (Alto sax). To add icing to what's already a pretty rich cake, Kendra clearly has an ear for a good song since the numbers here include songs by Elvis Costello, Jobim and Holiday alongside a single composition of her own, the snappy 'Paris Bossa' which holds its own in pretty distinguished company. She sounds particularly beguiling whilst singing in French as she does in 'Tes Yeaux Bernol' where she's sensitively accompanied by Willis. And to top it all Mapleshade have delivered another excellent, open, recording. Staging is excellent with plenty of depth and the whole thing is simply unfussy and natural. What are you waiting for?
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